ONE UN - UNESCO Creative Cities and Sustainable Urban Development (WUF13)

Good afternoon.
Welcome.
Welcome to this event.
Dear miss Sadat cefa, Deputy Minister of the Republic of Azerbijan.
Dear representatives of the Ministry of Culture of the Republic of Azerbijan.
Dear UNSCO Creative Cities, distinguished participants, ladies and gentlemen, colleagues and partners.
It is a great pleasure and honor to welcome you on behalf of the UNSCO Creative Cities Network, UCCN Secretariat to this one UN side event on UNSCO Creative Cities and Sustainable Urban Development.
We are especially proud to co organize this session with the Ministry of Culture of the Republic of Azerban.
This collaboration exemplifies what the UCCN stands for at its core, a living network of partnerships where cities, national governments, and UN agencies come together to turn global commitments into local action.
We meet today in the context of the 13th session of the World Urban Forum under the theme housing the world, safe and resilient cities and communities.
Across the globe, cities are undergoing rapid transformation.
Rising housing costs and shifting urban dynamics are not only reshaping our neighborhoods, they are testing something deeper, the ability of people to remain connected to the places they call home.
Creative communities are often at the front line of these changes, creative spaces which fuel innovation, cultural expression, and local economies are increasingly at risk of being sidelined.
What we're witnessing is not only the housing challenge, but a broader challenge of belonging as social cohesion, and yet cities are also where solutions engage.
Evidence shows that when culture and creativity are embedded in housing and urban regeneration strategies, they can strengthen social cohesion, diversify local economies, and foster more inclusive, resilient, and people centered cities.
Culture does not sit on the margins of urban development.
It shapes its very fabric.
Culture and creativity are also powerful economic drivers.
Culture creative industries account for over 3.40% of global GDP and 3.60% of employment with a strong concentration in urban areas.
When integrated into inclusive planning and housing policies, they become engines not only of growth, but of resilience, empowerment, and opportunities.
This is precisely where the UniC creativities Network plays its role.
For those less familiar with the network, the UCCN is a flagship city level program of UNESCO whose objective is to strengthen international cooperation among cities that identify culture and creativity as strategic drivers for sustainable urban development.
The UCCN today comprises 408 member cities across more than 100 countries with an impact on the lives of around 700 million inhabitants around the globe.
Across eight creative fields, the network serves as a global platform for pairing innovation, supporting cities in developing locally grounded solutions to global urban challenges.
I would now like to invite you to watch a very short introductory video on the UNIC Creative Cities Network, which offers a deep insight into our work.
Cities are more than just streets and buildings.
They're made up of people, ideas, and creativity.
Every mural, meal, melody, and movie tells a story of who we are.
Creativity also offers economic opportunities to millions of people around the world.
Cultural and creative industries generate more than 3% of global GBT each year and provide more than 3.5% of global jobs, most of them in cities.
The UNESCO Creative Cities Network, or UCCN celebrates the immense potential of cities since its foundation in 2004, 408 cities in more than 100 countries have joined the network, counting over 700 million inhabitants.
The network is managed and coordinated by the UCsian Secretariat, based at UNESCO headquarters.
Each member city belongs to one of eight pative fields, architecture, crafts and folk art, design, film, gastronomy, Literature, arts and music.
These cities recognize the importance of culture as a catalyst for sustainable urban development and international cooperation.
To join the UCCN, aspiring cities must apply through the call for applications open every two years, cities unesco member states or associate members.
Becoming a member city is about more than a title.
It's a lasting commitment to a global community built on collaboration and learning.
Every year, the entire network comes together at the annual conference, convened by UNSCO in close cooperation with the host.
Here, mayors, local actors, and cultural stakeholders freely exchange ideas and establish innovative partnerships.
Special attention is paid to key and emerging themes such as artificial intelligence, gender equality, youth, and sustainable tourism.
Reports submitted by UCCM members offer evidence and data on how the network's mission is being translated on the ground and how local policies can boost culture and creativity.
For example, the UCCM members are bringing the United Nations 2030 agenda for sustainable development to life.
In particular, goal 11, which aims to make cities inclusive, safe, resilient, and sustainable.
They are also promoting the UNESCO Moet Cult 2022 Declaration, calling for the recognition of culture as a global public good.
By working together, creative cities led by UNESCO through the ECCM Secretariat turn global aspirations into local action.
Join us and unleash the power of creativity in shaping our urban future.
Today's session builds directly upon this shared vision.
Aligned with the objectives of the New Urban Agenda and Sustainable Development Goal 11, this one UN havens explores how culture and creativity led urban regeneration can contribute to more inclusive housing systems and more sustainable cities.
Through concrete case studies from UNSCO, creative cities in Azerbijan and other countries worldwide, we will examine how cultural and creative hubs, participatory planning processes, and innovating housing models can strengthen communities, support local economies, and ensure that urban transformation benefits all.
Importantly, this session also builds on the legacy of our joint one UN side event at 012 in collaboration with UN tourism and UN Habitat, which focused on culture driven sustainable urban tourism.
That discussion demonstrated how culture can act as a bridge between economic development, urban policy, and social inclusion.
Today, we take this work one step further by exploring how culture can also help address one of the most pressing challenges of our time, housing.
In this sense, this event is not a standalone moment, but part of a continuous effort to connect ideas, share practices, and scale solutions across cities.
Ultimately, our objective today is simple, yet essential to learn from each other, to exchange practical experiences, and to strengthen cooperation between cities and partners because the challenges we face are shared and so too must be the solutions.
It also underscores the cross cutting role of culture in contributing to diverse development dimensions, notably housing and community development.
We will now hear a special video message from Mr.
Laza Edundo Asou, Assistant Director General for Culture of Unesco and Interim.
Distinguished representative of the Ministry of Culture of the Republic of Azerbaijan, Your Excellency's distinguished delegates, dear friends, colleagues and partners, it is a great pleasure to welcome you today at this one UN side event titled UNESCO Creative Cities and Sustainable Urban Development, which is organized within the framework of This 13th session of the World Urban Forum by the UNESCO Creative Cities Network Secretariat in collaboration with the Minister of Culture of the Republic of Azerbijan.
Allow me to begin by expressing my sincere gratitude to the Minister of Culture of the Republic of Azerbijan for its close collaboration in organizing this important event, as well as to UN Habitat for bringing us together today in this important space for dialogue and exchange.
The challenges facing cities today are increasingly interconnected.
Rising, housing pressures, and rapid urban transformation are reshaping and affecting the social fabric of societies worldwide.
These challenges therefore require coordinated and cross sectoral responses.
At UNSCO, we recognize culture as an essential dimension of sustainable urban development.
Through normative instruments such as the World Heritage Convention, the 2011 recommendation on the historic urban landscape, and the 2003 Convention for the safeguarding of the intangible cultural heritage, Unesco continues to support development approaches that remain connected to local communities, strengthen cultural and creative industries, and adapt to emerging social transformation.
In this context, cities are living environments shaped by communities, heritage, creativity, and cultural expressions.
Through the creative cities network, UNESCO supports cities in placing culture and creativity at the heart of local development strategies, fostering innovation, social inclusion, economic opportunity, and cultural diversity.
Across creative cities worldwide, we increasingly see how rising housing costs and urban transformation place pressure on residents, creative communities and cultural spaces that are all vital to urban life.
At the same time, experiences from many cities demonstrate that locally rooted and inclusive urban regeneration models can safeguard heritage, strengthen social cohesion, and support local economies.
Indeed, culture and creativity led approaches offer concrete pathways forward by contributing to more resilient, inclusive, and people centered cities, and also help keep urban development connected to local realities and needs.
This events also reflect the importance of the one UN approach.
By bringing together UNESCO, UN habited government partners, and city representative, we are creating opportunities to exchange experience, highlight good practices, and strengthen collaboration across sectors and disciplines.
I would like to warmly thank all participants for their engagement and commitment, and I look forward to the discussions and perspective that will emerge from this exchange.
Thank you.
Thank you to Mr.
Asoo for those reflections.
Now it is my pleasure to invite miss Saradat Yufova, Deputy Minister of Culture of the Republic of Azerbijan to deliver a keynote address.
Excellencies, ladies and gentlemen, dear colleagues and friends.
I am pleased to welcome you to the panel session, UNS Creative Cities and Sustainable Urban Development.
Held within the framework of the certain session of the World Urban Forum Embarko under the term, housing the world, safe and resilient cities and communities.
The year 2026 was declared the Year of Urban Planning and the architecture in Azerbijan by the order of the President of Azerbijan, Mr.
Ilham Aliyev.
This decision reflects the country's strong commitment to sustainable urban development.
Today, balanced regional development sustainable settlement and alignment with the United Nations sustainable development goals remain among Azerbijan's key priorities.
The hosting of the World Urban Forum in Baku is a clear reflection of Azerbijan's growing international role in sustainable urban development process.
Azerbijan has a rich tradition of urban planning and architecture.
Azjan' UNESCO world heritage sites, including the Walled City of Baku, with the Maiden Tower and the Shia Palace complex, as well as the historic center of Shake with the Hans Palace reflect the country's rich cultural heritage.
In the modern era, projects such as the Hader Alif Center, flame Towers, and the White City Project demonstrate Azerbijan's vision for innovation and sustainable development.
As part of this approach, Azerbijan also recognize culture and creativity as important delivers of sustainable development.
In this direction, important legislative and strategic steps have recently been taken.
The Azubian Culture 2014 cultural concept identify cultural and creative industries as one of the key priorities while amendments to the culture strengthen the legal framework for the creative industries.
At the same time, new incentive mechanisms, including a national classification system for cultural and creative industries.
And the film rebate mechanism have been introduced.
The socioeconomic development strategy of Republic Avian for 2022 and 2026 promotes the development of a competitive and inclusive creative economy since 2023, Ministry of Culture has expanded its efforts to strengthen governance in the cultural sector, support digitalization, employment, entrepreneurship, and regulatory reforms.
Azerbijan place a special importance on the development of education, human capital, and creative infrastructure.
Incubation programs in gaming and cultural technologies, certification and scholarship programs in various creative fields, as well as grant support for NGOs contribute to the development of new generation of creative professionals.
At the same time, the Cultural and Creative Industries Development Center operating embargo provides professional opportunities for creators and this model is planned to be expanding to the regions.
Today, the results of these efforts are becoming increasingly visible.
The share of cultural and creative industries in Azerbian's GDP reached 1% in 2025.
And the country ranked 47th among 133 countries in the 2025 Global Entertainment and Media Outlook Report.
International cooperation remains one of our priorities.
In this context, cooperation with the UNS Creative City Network holds particular importance.
The inclusion of the seat of Vacco in the field of design, the seat of Sky in crafts and folk art, and the seat of Lankaran gastronomy in the UniSA Creative City Network reflects the international recognition of Azerbian's creative potential, cultural diversity, and contribution to sustainable urban development.
I'm confident that today's panel discussions will serve as a valuable platform for sharing new approaches and successful experiences regarding the role of creative cities in sustainable development process.
I invite all panel participants to engage in open dialogue, discuss innovative ideas, and explore future cooperation opportunities.
Thank you for your attention.
Thank you for that insightful keynote, miss fav.
Before beginning today's panel discussion, we will now watch another short video dedicated to the US Coulative cities in Azerbijan, Baku, Blakar and Ski I I Thank you so much for this very inspiring video.
We now turn to the heart of today's session, our high level panel discussion under the theme housing creative communities, culture driven urban regeneration for sustainability.
Culture and creativity can threateen the social fabric of cities, support economic resilience, and help communities remain connected amid rapid urban change.
Okay.
This panel now brings those ideas to practice through concrete experiences from cities and institutions across different regions of the world, we will explore how culture and creativity driven approaches can contribute to urban regeneration, housing, public space, and long term community resilience in ways that are inclusive, people centered, and sustainable.
Allow me to briefly introduce our distinguished panelists and invite them one by one to the stage.
Now, I would like to invite Mr.
Hasd Azaz, head of the Cinema Agency of Azerbijan and former head of the Department of Culture and Creative Industries at the Ministry of Culture of the Republic of Azerbijan.
I would like to invite now my colleague, Mr.
Jose Cheung, Urban regeneration and Public Space Lead, Yanda Vitat Mr.
Safidn Ksendv, Deputy Mayor of Bocara, Uzbekistan and head of the City Department for Investment, Industry and Trade.
Miss Anauza Otterbck, architect and urban planner, representing the Unico Creative City of Santos, Brazila.
And miss Mia Avdacic, film professional representing the Unisco Creativeity of Sarajevo, Bosnia, and Herzevina.
Thank you to all panelists.
So now, each panelist will have approximately 5 minutes to share concrete examples from their cities, their city or institution.
In order to ensure a dynamic and balanced discussion, I kindly invite all panelists to keep their interventions within the allocated time 5 minutes.
Following each intervention, I will pose a brief follow up question to deepen the discussion.
We will then move into a broader exchange among panelists before giving the floor to the audience should the time permit.
Let us begin.
I would like to begin by giving the floor to Mr.
Rashad Azaz.
Please, you have the floor.
Thank you very much.
It's a great pleasure to be here, to be part of this important panel within the World Urban Forum.
Distinguished guests.
First of all, I will I express my gratitude for being here for all of you because it's a great pleasure for us to host this big event and to have the representatives from different creative cities all over the world here in Baku to share their experiences and of course, to share ours and Deputy Minister in her speech mentioned the most important issues connected to the policy of the development of creative industries in our country.
I just want to mention some issues that for the last several years, this dimension became one of the priority in our country.
And the sector of the creative industries is considered to be one of the most fastly developing sectors of our economy.
For the last four years, it increased approximately twicely from 0.6 in 2022 up to 1% in 2025 and in the numbers, it's more than 1 billion of Maat It means the new job created in this sector, it means the different sectors that are developing.
Of course, the most fundamental issue for all this development was the legislative approach that started by the decree of the president that accepted the socio economic strategy for the country and there the goals for the creative industries was one of the main importance.
If the creative industries is considered to be the priority for the country, one of the main ideas is to put these as a keyPIs before not only one state entity, but also before all the government because sometimes it's considered the very strong cooperation between different governmental bodies.
That's why for the last years, even the networking for creative cities started up to ten years ago.
It boosted for the last three years rapidly.
Than previously.
We have the big network of different projects that's considered to be as a new instruments for the supports of creative industries such like the My Start is the scholarship program in the fields of creative industries.
This is my grant, the special program that's considered the granting for non government organization, and now we have some change that's the commercials and individuals are also considered to be the beneficiaries for this granting program.
We have the special hybrid platform for online and offline education special based on upskilling programs in different clusters of creative industries.
But we also developed two new pipelines that is done under the Ministry of the culture that's something new for the cultural policy.
This is the special pipeline of my export that's considered the special support for industrial export of the cultural and creative goods and services to the other countries and the ministry is considering to have the special mapping of the regional market that is creating in that field.
Also, we have the new approach that we are calling invest to create because this field is mainly considered to be supported by the governmental funds.
But if we want to develop this industrial commercial approach, we need to do much more to bring the private sector to invest money here.
Of course, it needs the underlining the market, the regional market, maybe the opportunities for global markets, and of course, to guarantee the investment in that field.
The next step was to correlate what is done for creative industries in general with the network that we have.
And to tell the truth, we are just starting to correlating it because it means that we need the roadmap for each of these cities that will consider the special program in different fields connected to the clusters of the creative industry, but also to the usage, to the implementing of the instruments that's already created by the Ministry of Culture.
Because now for the last two years we see some aarly carrying out the processes in that field.
The network in Azerbijan as it was already mentioned, started from the 2017.
It was the Shaki, the first cities that became part of the family of UCCN.
Then Baku as a city of design joint and the last but not least, maybe it was the Lankan, the city of gastronomy.
Mainly, the policy in that field is done within the framework of touristic potential.
But we considered that I previously mentioned we need to coordinate these processes more more active to give these new opportunities more close to the city, to the executive bodies of the cities, and of course, to the cultural bodies, regional cultural bodies that are representing the processes, especially in that field.
So each of the city have quite active planning for the cluster they are developing, but most of them are done within the framework of the event organizing.
But creative industries is not only the event organizing, it means much more, it should consider infrastructure and other points.
For example, as an example, we can show that in Baku for last years, we have quite interesting big events.
As you see, it's done in different spheres such like their sport, policy, politics, but also in cultural sphere and even in design, we have quite good interesting events Only in May and beginning of June, we have four big events that are dedicated to the design.
It means that how popular is this cluster of the industry, of the cultural industry in the city.
You see that our talented people do a lot in that sphere, But now we are analyzing how to scale the process, how to make it more deep, how to correlate it to the industrial approach, and the analysis help us to understand that the main challenges that we have is to strengthen the coordination, as I mentioned, between the executive regional bodies and the central cultural body.
The second point is that we need much more people to be involved with the process, not only from event to event, but everyday life that will give the new opportunities as a job creation, new businesses, et cetera, of course, it needs the space.
It means that regionally, all the people who want to be involved to the process should have this opportunity.
One of the important point is the benchmarking.
And here, the UCCN practice experience can be considered as most fruitful because each of the cities have the partners in the network that's already had made this path, and some of them were very fruitful.
And that's why I think we shouldn't invent the wheel again and just repeat, of course, taking in mind the specialties of our regions.
The most important issue is the community building.
That is one of the main issues that's considered the sustainability of the policy in the regions.
And of course, we should reuse and activate all the opportunities that we already have that can reduce the cost of the processes that's happening.
So in that field, we have the new ministerial approach that's considered that ministry are moving from the ecosatic approach to ecosysteatic one.
So it's considered that the communities should be considered the main players in that game.
So the government, the ministry should work, especially for the framework, the legislative framework, for the institutional framework, that should be the first step for that community building.
Of course.
The second point is that the ministry have a very big network of the existing infrastructure and it can be used in new and pipelines.
Some of these infrastructure can be reused, some of them can be rebuilt.
But in any case, the main idea is that if we want them to be really productive and really active, we should consider to build strong communities in the region, especially dedicated to the industries that we are working in.
So for the last three years, the numbers of such kind of creative hubs only in Bao increased.
So to the moment of now, we have more than ten different creative hops.
They are governmental, some of them are private, and we see that all of them now are quite active because they deal with the peoples that live around and we are analyzing how it's happening, what can be considered of most productive policy to strengthen this process.
But the main idea is that the ministry is mainly focused to bring the communities and give them more liberty within the framework of what they are doing.
At the moment and we think that if this will work, it will bring us to make very fast move from this event based approach to mostly industrial approach that consider more jobs, more opportunities, more creative spaces that will serve especially for uh, these creative people.
There are different approach or methods how we can use the different spaces, mainly the industrial ones, especially in Baku.
So one of the uh progressive one was opening the ra Digi Marquez, the creative industries Development Center under the Ministry of the culture that was established in 2024.
This organization opening one of the venues, then boosted the opening of the others, mainly private ones in different other spaces.
We see that every year it give us opportunity to fasten and to scale the process, especially within the digital design and of course, the framework that we are speaking about considered the different KPIs, and all of them are correlated to the legislative policy that's now happening in our country.
This year, we have the adopted cultural concept that was adopted by the decree of Mr.
President and it's considered the development in that sphere, the cultural sphere up to the 2040 and the special place and attention is dedicated to creative industries.
Even their scaling of the UCCN networking within Azerbijan is also underlined as one of the KPIs.
So now we are very interested to analyze the experience in general of UCCN and also in particular of different cities.
This can be interesting for our country in this near future.
So for us, the scaling of creative cities network is not only as an event or something like one of the goals, it's mostly considered that very productive instrument that can be considered as the very productive instrument to strengthen the communities within the cities within the industries.
So this is maybe shortly about what we are doing at the moment in our country in that sphere.
Thank you, Mr.
Azizv.
As a follow up question now, as you mentioned, Azrbanan approach and the role of cultural and creative industries in shaping urban development, I would like to know now looking ahead, how do you envision Azerbijan and its USC creative cities further integrating culture and creativity into broader development dimensions, particularly as you mentioned in areas such as urban regeneration, housing, and community development.
Short and try to be sharp and short.
First of all, as I mentioned, the main idea is the coordination between the bodies that are responsible for urban and the bodies that are responsible, especially for their creative industries development because sometimes when we do the projects apartly, it can bring to the situation when we have the venue, but there is nobody working there or Otherwise, we have quite brilliant people that want to work, but they don't get the opportunity to do it.
Should be done.
This is the inner in country analytics of the industrial, of the opportunities within conquered cities, and of course, the benchmarking of what has happened in the similar cities within the world.
This can be the answer how we can strengthen the process.
This will be the case studies, and of course, being more active in the network.
Participating on the special dedicated to some clusters events by the cities, not only by the governmental representatives officers, but also by the non government organization and especially the creative peoples can bring to understand the opportunity in that field.
Okay.
Mini, thanks for your response.
Now I'd like to turn to Jose.
But before I would like to kindly remind to all our panelists to keep your interventions within the allocated 5 minutes.
Thank you.
The floor is yours, Jose.
Thanks a lot.
Denise for the opportunity, and thanks a lot for the Ministry of culture for the invitation and actually showcasing these examples of how the efforts that they are doing to improve creative industries, but also the city development itself.
It's a pleasure to be here like a first time in Baku and actually, I testified yesterday when walking around the city center on the effort that the city is doing to improve public spaces, livability in cities through culture.
Congratulations for that.
From my side, representing UN habitat site and working more on cities and hosting also as a part of the organizers of the Worldw forum, it's a pleasure to be here and to talk mainly about urban regeneration, public space from the UN habitat perspective, working from the planning and finance section.
On this topic for us, I wanted to remind us from the SDE that has been showcased in the different events, particularly SDE 11 that this was showcasing Also, we have the new urban agenda that remind us agenda that is why culture is quite important when we are talking about urban development.
Now we are at the ten years mark the signature of the new urban agenda, we are in the process of revision.
A when we are talking about this principle, culture is mentioned in many parts of the agenda as a key resource and asset when we are talking about urban development.
We are talking about culture and heritage and this Baku and Saban is a good example of that these practices and most importantly, how local authorities are quite important actors to promote culture in urban development process.
Innovation is quite key.
It was addressed also in the Nur Bank agenda and we have seen here examples of that one, but also from cities from the great cities network that are showcasing how culture and innovation can work together towards a better city, a better urban development, but it's necessary at the government systems, to be able to achieve better quality of life.
I wanted to end more to the topic on urban reneration and public spaces that is a topic that we have been working for years.
There are some challenges, for example, how to balance conservation and needs of the current society.
Maintaining the culture in our cities, but also a new challenges related to urban crisis like sustainability and climate resilience.
But also, we see a lot of opportunities like integrating culture and urban development, culture as an instrument also for economic revitalization, apply innovative approach like urban design and reneration and also and it was pointed out for the previous speaker, engagement of community and ownership and to create a sense of belonging that is quite fundamental when we are talking about sustainable organization.
We are working and we have 15 years of experience working through the global public space network that now has transformed to a global public space from program to network.
We have more than 800 organizations working on the topic of inclusive and accessible and safe public space.
We have found from this experience, that public space is an important cultural platform to develop activities in cities.
But what is happening and we are in the process of monitoring SDE 11.72 is accessibility to a public space that actually we are very far away for the target, to have 100% accessibility, convening accessibility to an open public space, we are talking about 400 meters 5 minutes walk to an open public space in cities.
This is an existing need that we have in our cities.
So I wanted to go very fast because Denise Ag, give us 5 minutes to the intervention.
I wanted to point out actually one city.
This was in Wuchang, a very well known city after the pandemic.
But actually Wuhag was important.
Last year we work with Denise and Ureity City Network to launch the Urban Solution Initiative.
On cultural driven sustainable urban regeneration.
And this initiative is together with UN tourism, and we launch it like in a way that is to be a practical solution, like a to have this urban regeneration process incorporating culture.
In Gujang we had a five years program that it was related to improve, like a and it was called people oriented urban public spaces.
So it's like how we can integrate more like the human dimension to the design of the public space.
We have seen in many cities around the world that is sometimes the design is top down.
So it's made me coming from an architect and designer, but it's like how we can do it like a more inclusive.
So on this project, we did an analysis of Wuchang district that particularly what we analyzed in this district of 1 million inhabitants is like a dark connection between culture, tangible and intangible heritage and natural heritage related to public spaces.
So we analyzed all the system of public spaces and these are the results only to highlight and this was part of a strategy to analyze, for example, a programming of the space, but also quality of the public space that is one component that is missing when we are talking about the SDE 11.7 that is model accessibility.
That actually was quite interesting that correlation between urban form heritage, historical buildings, and also the morphology of the city, similar, for example, to the city center here in Baku.
And quality of quality of the space.
This was quite fundamental because it was a strong corelation between that.
You can see in the graphic in Lu, the darkest point is like a historical area of Wu Chang, but also was the area where you can have indicators better quality public spaces.
It was a stronger correlation with that.
This also comes with a culture because they were maintaining the local communities that they were doing activities on the public space.
End up only a key message for us from habitat site like a built environment is a platform for culture through participation of the people.
This is quite important.
We need to have the combination of both the built environment that allowed that, but also how are the processes that are designed to be able to have cultural practices, behaviors, and what are the social assets that we have to maintain on urban regeneration process that we have seen that sometimes they are not taking into consideration and it is quite fundamental when we are talking about diversity, accessibility and inclusion for sustainable cities.
Thanks a lot.
Thank you, Jose.
First of all, thank you for reminding us the importance of working together and this kind of joint project that we have with other sister agencies, notably as you recall, the Urban solutions.
Now, you mentioned that UN habitats global public space network promotes low cost high impact initiatives.
Could you share with us any additional examples of initiatives that have a particularly, I would say, transformative effect on community life or cultural access or cultural participation? Thanks a lot, Denise, for the question.
It's quite difficult to resume in a few examples like what we are doing.
We have around 15 years of work working on more than 100 cities in 50 countries.
But actually, one of the lessons from the work from the global public space program is that participation is fundamental.
One of the tools that we have been using and actually come with creative industries is using gaming, like a Ford, the code of public space.
I don't know if you know the game Minecraft.
This is a very popular game it's the Lego.
We were using Minecraft to receive ideas of the communities on the code of public spaces.
We have been using in many countries and actually was quite important tool to get the voices, particularly for youth and children on how to improve the design of these public spaces.
We get the idea and also what we get in general was not only the physical configuration, but also the programming of the space because the elements that they were putting in the game, they were telling us what was needed from the site.
Other initiative that is quite important for us is understanding, for instance, the network of public spaces that you have in cities.
We have a tool that is called a citywide public space assessment.
With the citywide public space assessment for us is quite important to understand not only the activities that happen in the specific public space, but also how they interact with each other.
The connection between different public space is quite fundamental when we are talking about the activities in general.
This gives us a lot of ideas on programming of the space, but also help us to understand the necessities of the communities.
Maybe last thing, for example, in the implementation of these tools, we were using open source tools, one of them is called COVA toolbox, where we're always sending university students and community leaders to map quality of public space using mobile phone applications.
That we collect that information, and then we do the analysis to understand activities, physical infrastructure, and then to provide policies on how to improve quality of public space in cities, particularly on accessibility, but specifically on the uses that you can have in your neighborhoods.
Thank you.
Thank you also for highlighting the role of youth and children in your program.
Looking ahead, what do you see for partnerships between organizations such as UNESCO and UN Habitat in shaping more culture sensitive urban development models globally? No.
I think this is quite important and I believe this urban solution that we are partnering is a good example of a good UN agency collaboration, but also an opportunity to invite cities practitioners, academia and other actors that would like to join this initiative to scale up That topic on cultural driven urban regeneration and is example like creative city connecting cities and city partnership is fundamental.
We have seen from our site how cities can learn from peers on the practice.
Actually sometimes what we have is a lot of policies, but it's the policies to translate to action.
So that, for instance, for us, from our experience.
Sometimes you can have a purpose policy, but you need to have a testing on the ground.
It's like these place making activities that you can test and have the implementation processes is quite important and the partnership that goes between you and agencies, but also the partnership with the people.
We believe that it's important to have the community's voice.
Because the community at the end, is the heart of what defined culture in your own neighborhoods.
So initiative like Urban solutions, but also initiative like secret Cities Network or the global public network that we are hosting can support on the implementation of the SDG, the Neng agenda and invite you to collaborate with us to have a better environment, living environments for everyone.
Thank you so much, Jose, for your insights and contributions.
Now, I would like to give the floor to Mr.
Chafin Kusanov.
Thank you very much.
Distinguished colleagues, esteemed representatives of UNESCO, you uninhabited honored guests, ladies and gentlemen.
It's a great honor for me to address you today at this high level side event, UNESCO Creative Cities and Sustainable Urban Development, held within the framework of the 13th session of the World Urban Forum in Baku.
On behalf of the Buhara City administration, I would like to express our sincere appreciation to the organizers for this important platform, which brings together global leaders and cities committed to advancing sustainable, inclusive, and resilient urban development.
Allow me to begin by introducing the city I represent, Buhara, one of the oldest cities in Central Asia with a history spanning more than 2,500 years.
Historic silk road city, Bukhara, has long been a bridge between east and west and the center of culture, science, trade, and spirituality.
Today, Bukhara is proud to be recognized as a UNESCO creative city of crafts and folk art since 2023 and an active member of UNESCO Creative Cities Network, which brings together more than 408 cities across over 100 countries.
The city is internationally known for its exceptional tradition in golden embroidery, pyramics, jewelry, and wood carving, crafts that continue to define its living cultural identity.
In recent years, Buhara has also been transforming culture into a driver of sustainable urban development.
A key example of this transformation is the first Bhara Binnae titled Recipes for Broken Hearts, held from September to November.
The Binnai brought together more than 200 participants from 39 countries who created contemporary works centered on teams of food, healing, laws, and human connection.
070 site specific artworks were installed across UNESCO heritage spaces turning the historic city into a living cultural platform.
This initiative demonstrated how culture can serve as a powerful engine of urban regeneration.
Historic mosques, Madrasas and caravan Saras were carefully transformed into cultural Vs ensuring the heritage spaces are utilized without losing their authenticity.
This approach clearly shows that culture is not only about preservation, it's a practical tool for sustainable urban development.
The impact of banal was significant.
It attracted approximately 2.1 million visitors, including More than 770,000 international guests increased tourism booking by over 300% and generated around $210 million in tourism related services.
Importantly, it also ensured free public access, educational forums, workshops, and creative laboratories empowering, use and addressing contemporary social challenges such as immigration, globalization, and social resilience.
Internationally, the event positioned Buhara as leading cultural hub in Central Asia, attracting participants and visitors from nearly 40 countries and strengthening cultural diplomacy and artistic cooperation.
Building on this momentum, Bhara is also preparing candidates documents to host future international cultural events, including the UNESCO Creative Cities annual Conference 2027.
The city has demonstrated strong capacity to host large scale international gatherings supported by the UNESCO World Heritage status, expanding tourism infrastructure, and growing cultural district development.
Today, Buhara offers well developed tourism and hospitality ecosystem with more than 600 accommodation facilities, over 15,000 beds, capacity, and hundreds of hotels, guest houses, and tourism operators.
The city is also home to thousands of artisans, hundreds of cultural heritage sites, museums, pilgrimage sites, and a vibrant network of creative industries.
In 2025 alone, Bukhara welcomed more than 2 million international tourists and nearly 1 million domestic visitors with tourism revenues exceeding half of $1 billion.
Major ongoing investments, including to Bhi Bukhara, cultural ethnographic park are further strengthening the city's capacity to host global events and attract more than 3 million visitors annually in the near future.
In conclusion, Buhara demonstrates how culture creative heritage can serve as a powerful drivers of sustainable urban development.
The city combines heritage preservation, creative industries, community participation, and international cooperation to build resilient, inclusive and future oriented urban spaces.
With this vision, Buhara is fully ready and honored to host the UNESCO Creative Cities Annual Conference 2027.
Thank you for your attention.
Thank you, Mr.
Funov for your valuable insights from the creativity of Buha.
Now, my question is, Ohaha experience demonstrates culture as a driver of urban regeneration.
From your perspective, what role should culture and creativity play in broader urban planning and housing policies? Thank you very much for your question.
For Bukhara, culture is the soul of the city.
We believe that that development is not only about new buildings and roads, it's also about people, traditions, and identity.
Bukhara is an ancient silk road city.
That's why we try to protect our cultural heritage while also developing a modern city.
This helps protect the identity of the city, support local people, and improve tourism.
Fo Buhara culture is not separate from development.
F Buhara culture is a part of the future of the city.
Thank you very much.
Thank you.
I would like to invite now miss Ana Louisa Otterbck representing the creative city of Santos, Brazil.
Thank you, Denise.
It's a pleasure for being here.
Well, today I want to share a project that I was part of the team behind the concept of archipalfs.
It's a new way of looking through creativity and culture to an urban challenge.
It's to communities built in mangrove areas.
Oh.
This is quida Villa Gilda.
It's the largest t community in Brazil, right inside the city of Santos.
Santos is home to one of the most important parts in the Americas, which attracted many workers over the decades.
Today we have to face this challenge.
While along the sea front, the Human Development Index is comparable to Europe.
A few kilometers away in the ut communities, it compares to some of the poorest countries in Africa.
The most obvious solution was to relocate families and many efforts were created over the decades to relocate these people and yet the numbers of occupations kept growing.
Removing family has never worked.
I ask you, how do we solve it? What if distilled housing is not the problem, but the solution? The starting point was to keep people in place and we connected the houses with walkways, which became also the distribution of water in seawage infrastructure.
We also uses and density in on field land areas and density in this case means open breathing space for mangrove to regenerate.
The creativity in here we're seeing the solution in the problem.
The site selection of the pilot project was very strategic because it was an unocupied area in the edge of the community, and it helped a lot to establish a relationship with the local residents and also with the drug trafficking that controls the area.
The pilot project started really small, 60 units, but it was not just housing, it has local commerce and a community center.
I can say it was small enough to begin, but powerful enough to demonstrate to people that it was possible.
Speed had to be strategy.
It had to be built fast enough so the area wouldn't get informal occupied.
And we also had to be creative to create legal solutions because in Brazil, water areas belong to the federal government and it was only possible to build bridges or infrastructure programs.
It was the first time that this instrument was applied for housing.
It was also possible because we had a connection with the three levels of government.
The federal granted the land while the state financed the construction and the municipal government led all planning.
The future of **** the Villa da will demand even more creativity because each area on the community is different from each other.
I can say that we have to be creative, but we also have to be flexible.
What doesn't change is the concept.
The pilot project created a demonstration effect that opened the door for innovative solutions to be discussed.
But beyond the tangible, there's something very important.
We had to reconnect this community to its own identity.
This community was born from water, people used to be fishermen.
Rebuilding this place also means to rebuild this relationship and we can already see that the mangrove returns fast and the nature returns fast.
With hope we can also rebuild the feeling of belonging.
This picture was a few days ago.
In the Prchpala feets, the pilot project is not alone, really close to the area is now under construction, the Citizens Square.
It's a complex that will combine vocational training for the community and skills development.
This area is also connect with a new mangrove park that has an No Factory and this area offers to the people environmental education programs.
So all of these together and yet with the government actions can provide the better conditions for local economy, creative economy to thrive.
All of these are already happening.
Jamie Leonard used to say that the city is not the problem, the city is the solution, and to innovate, we must begin.
I believe that the Pkpftas is just the beginning.
Thank you.
Thank you, A Theresa, for sharing this inspiring example of Parque Palftas and for showing how regeneration can also mean restoring identity, dignity, and belonging within communities.
Now, you mentioned you highlighted that Parque Pfitas is not only a housing project, but also the project includes a space for local commerce, training, and community life.
How important are these cultural and creative spaces in ensuring that urban regeneration benefits residents, socially and economically.
Okay, thank you, Denise.
Well, the archipela fetus was born from an important observation.
The community away had a stronger informal economy with local commerce and services.
We had a powerful evidence of what happens when we ignored that because other housing programs moved families to better physical conditions, and yet people still came back to distill communities, not because of the houses were worst, but because they lost their bonds.
So from the beginning, it was very clear it had to be about not only about housing, but we had to bring the city to its citizens.
So we planned this commercial areas and also the community center for people to maintain their economic and social activities.
But you still have a major challenge, the high level of crime.
All of these is very important to provide conditions for the community to access a new horizon of possibilities.
It's very important to involve young people and children in culture and environmental education.
I can say that we can already see positive attitudes that are already emerging from the community itself with all these actions.
Thank you.
Thank you, Asa.
Now, I give the floor to Mia Adacic from the Creative City of Sarajevo.
Thank you so much.
Hello, everyone.
I promise I will be quick and that would be a good time to say that I have a film to show, but unfortunately I don't.
You want to watch just the beautiful scenery of our city.
I would like to approach the idea of housing creative communities through the Sarajevo Film Festival, but also through the wider work of Sarajevo as Unesco Creative City of Film.
It's very important to say that Sara Film Festival does not function in isolation, and it's much more than a festival.
It is a cultural movement which started 32 years ago.
It's a part of a broader institutional and urban context that position film not only as a cultural production, but as a long term development for the city.
In that sense, housing creative communities is not only about hosting people during the festival, it's also about how a city structures itself to remain open, connected, and active culture over time.
Sarajevo became U a creative city of film back in 2019 and has been recognized for something that has been developed for decades.
Film in Sajvo is not an additional cultural sector.
It's a part of the city's identity and it's a way of connecting to the world.
The creative City framework is important because it situate Sarajevo within a network of cities that use culture as a tool for urban development, exchange, and cooperation.
It also provides continuity beyond individual events by linking local initiatives, institutions, and festivals into longer term cultural structure.
Also, back in 223, we received the Global Production Award for the best city of film by S international at the Cannes Film Festival.
Now I will go again back in time back in 1995, and it was actually the time when Saba Film Festival was founded and it was founded during the siege of the city.
The festival actually emerged not as a planned cultural project, but it was a response to very concrete situation in which people and culture were for five years.
And it was actually created as a need to reconnect people and to restore a sense of a public life and public space, which wasn't safe at time.
From the beginning, it was about a space, about creating places where people could gather again and at least feel a bit homey.
Over time, festival evolved in a stable institution, but its logic remained the same.
Culture as a way of reconstructing social and urban relations.
Uh, it's very important to say that during the Savoa Film Festival, the city becomes a very specific environment for a large number of regional and international creative communities.
Filmmakers, producers, critics, international students, industry professionals are not only attending the events.
They're working within a shared infrastructure that spans throughout the entire city.
If you would go now to Savoa at this very moment and come back in August, you would see absolutely two different cities that cannot put in a parallel.
Venue, cinemas, public institution, and informal spaces of exchanges become part of one connected system.
The information is that during the year, Savo has three open cinemas.
During the Svo Film Festival, we have 20 cinemas that are ongoing for 300 screenings.
This is where the idea of housing becomes tangible.
It's about proximity, access, and shared time in the same urban space.
Beyond the festival itself, Sarajevo Film Festival operates through year round institutional programs, through many, many programs that it's happening throughout the year.
The biggest tools are Cine link Industry Days and Talen Savo which was developed with the Belinal Film Festival 20 years ago.
Cinelink is a production platform that connects projects with partners financing and actually gives co production opportunities since Saba Film Festival is covering Southeast Europe that actually everyone are in the same problem with the film funds and no one can fund film from only one source.
Talent Sav on the other hand, focuses on emerging professionals and someone who just finished the academies or film schools and offering mentorship training and peer exchange.
Together, those two programs extend festivals logic throughout the whole year.
This is important because housing creative communities cannot rely only on a single or annual moment.
It requires continuity.
During the festival, Sava operates as a temporary cultural system.
Cinemas, public institution, open spaces, and streets become part of the coordinated cultural network.
Changes is not only programming, but it's actually how the city functions.
All the levels of the government, all parts of the city have to work together in order to everything to happen.
For a short period of time, for those eight days, the city is reconfigured around cultural production and change.
This actually allows residents and visitors to experience Servo in a different manner as a place that is structured by creativity and share presence.
For example, the cinema that you see right now is actually cinema and also this cinema that it's the biggest cinema in Southeast Europe.
Open air cinema are not there throughout the year, and we are building it purposely for the purpose of Sta Film Festival.
Also, when we talk, we have to mention about sustainability and we need to look beyond visibility or cultural output.
Creative ecosystem depend on long term conditions, including access to spaces, institutional support, and stable frameworks for work and collaboration.
Increasingly, this also include questions of care and working conditions within the cultural sector.
In that sense, Saba Film Festival and Sabwa' creative City of film function together, one as reoccurring urban activation and the other as a long term framework that support cultural continuity.
To conclude, this is again the same cinema.
To conclude, creative communities need systems, not moments.
Sativa shows that housing creative communities is not about a physical space.
It's about building systems, some temporary like the festival and some long term like our sub programs that allow culture to circulate, return, and remain in the city.
Sajiva as the city and Saraiv as a city of film connects the city to the larger horizon, and we demonstrate that creative communities are not external to urban development.
They are part of how cities sustain themselves over time.
Thank you.
Thank you, Ea, for that powerful perspective on Sarajevo.
Now, one of the most compelling ideas in your intervention was that creative communities need systems, not moments.
How can cities move beyond one of cultural events to build long term cultural infrastructure that continuously supports creative communities? Thank you, Denise, for that question.
When everyone see the festivals, they see red carpets, they see all the shiny lights and people famous faces that are coming, but no one sees what's happening behind.
What's happening behind is a team of 20 people that work throughout the whole year to keep everyone in the loop, all those 2000 people of film professionals that were there during the August, we are in constant reach with them.
We are creating special programs in a format of their needs and we are creating every month specific programs that are needed whether it be within their projects or if they need just some mentorship, we are leading them through their career and somehow it's also important that we educate our audience.
We also have programs that are happening throughout the whole year within Sa Film Festival, that we are going to the schools and we are educating the young adults how to actually perceive the cinema and that the cinema is, in a way part of life.
Thank you, Mia, for your intervention.
I know that we're running against the clock, unfortunately, we do not have enough time to ask some questions, but I wanted also to thank the other creativities Uo creativities who are in the room.
I know that Suky, Vaasin, Katovice, Alisha, and San Paolo are in the room, so it would be for next time to have another exchange.
Let me now to thank all our panelists for this rich and insightful contributions.
We learned a lot from different parts of the world.
And also what is important is while cities operate in very different contexts, economic context, cultural realities, but many of them remain with similar challenges such as access to space, continuity of support, community participation, and ensuring that culture remains embedded.
Thank you.
Now, I would like to make my final remarks in 2 minutes or 3 minutes.
Thank you to the interpreters.
First of all, I would like to express once again my sincere gratitude and heartfelt thanks to the Ministry of Culture of the Republic of Azerbijan for their outstanding collaboration and to all of you for your engagement and contributions.
Today's exchange has reaffirmed something very essential.
Housing is not only about shelter, but about belonging and culture is not an accessory to urban development.
It is one of its foundations.
I would also like to extend my sincere position to our distinguished panelists, Mr.
Azizov, Mr.
Kuanov, Mr.
Chung, miss Abad, and miss Otterbck.
Your insight I made one thing very clear, creative communities are not on the margins of our societies and of our cities.
They are their pulse and yet they are often the most vulnerable to the pressures of rapid urban change.
What stands out from today's discussion is that we are not starting from the scratch.
Across the region and throughout the UNSCO creative Cities network, we have seen concrete, tangible, and tested solutions when culture and creativity are embedded into housing and urban planning, that strengthen, social cohesion, that support local economies, that help build cities that are more inclusive, resilient, and truly liable.
The task ahead is to scale these solutions, to connect them, and to sustain them through stronger collaboration across governments, institutions, and communities.
This is where the one UN approach is so powerful.
It allows us not to move beyond isolated initiatives and work collectively towards shared urban goals aligned with the New Urban Agenda and SDG 11.
Looking ahead towards City's Day on 31st of October 2026, under the theme regenerating the city adequate housing for all, these reflections of today will gain even greater relevance, greater importance, together with stakeholders from all angles, such as those present today, the UCCN will continue to champion culture and creativity driven approaches, fostering collaboration and innovation to ensure that no creative community to left behind.
The UNSCO Creative Cities Network will continue to serve as a platform to carry this work forward.
Let us leave Baku not only inspired but once again, committed to placing culture and creativity at the core of sustainable urban development.
To close this session, allow me once again to extend my heartfelt thanks, sincere appreciation and gratitude to our co organizers, the Ministry of Culture of the Republic of Azeraijan and you, Madam Deputy Minister, for their leadership, for their partnership in making this event possible, as well as to our valued colleagues at you Abitat, our distinguished panelists, all of you here today, and if you allow me a final word and special thanks to my dearest colleague of the UCN Secretariat, Chair Bi and my colleagues who are behind the scenes in Paris, E Catanus, Lucy, Innes Bz, and Victoria Mascara.
Thank you.